Frostburg mining journal. [volume] (Frostburg, Md.) 1871-1913, 1887-12-24

mistress and the young "massas, anx-
iously waiting for the festivities to begin.
What can equal the wild hilarity of
negro gatheringp Absence of care must
be concomitant with real enjoyment,
and care would not exist ten seconds in
the atmosphere of that room. Ha here
comes jig-heel and toe they dance the
exhilarating measure. Little Sammy, a
man six feet in height, but so called to
distinguish him from yet larger man of
the same name, is the champion jig
dancer and he accompanies the music
with his voice:
Fust you dance upon de heel
An den upon de toe,
An ebry time you hit de flo
You hit jess So
AS his feet were of majestic proportions,
the noise made by their hitting LESS so"
was easily distinguished over all other
noises in the room. Then came the quad
rifle this was the dance, as it was held to
be white-folks dance, and was always
started with an assumption of the stiff
est decorum, which speedily merged into
the widest of romps. l have seen
fashionable people walk in per-
functory manner through this dance, but
if the inventor had seen the way it was
danced in the quarter his heart would
have swelled with pride. There was no
monotony in the commands issuing from
Uncle Jack as he directed the figures.
On the contrary, he sang them to rude
rhythm-"Fo'ward TO and TO-, go fo'
ward" bend yo' backs an bow to de
ladies'" Ladies' change an change de
ladies'" Little Sammy was very pro-
ficent at this dance. He prided himself
on cutting the pigeon wing, and as every
time he performed this feat he shouted
"Whoo" in loud voice. he added much
to the decorum of the dance. The wild
notes of the fiddle, the shouts of Uncle
Jack and the self-appreciative yells of
Little Sammy mingled with the shuff1ing
of many feet, and an occasional polite
admonition of mind yosef, Niger" as
one dancer jostles another, formed
scene of rude hilarity which will ever
remain in my memory. Again l see
them in the red glare of the fire, which
reproduces them in fantastic shadows on
the wall Again l mingle with them
and enjoy their enjoyments; but, alas
only in my dreams.
When the quadrille is over there are no
signs of WEAKNESS; preparations are i'm
mediately made for the chinquapin. This
dance, or rather romp, was great favorite
with the younger people, and right here
let me say that l do not give this as its
generic name. The name of dance and
words of a song belong to various
sections of country, and | have known
them to differ on two neighboring plan
tations. The chinquapin is danced in
this fashion, The partners having been
selected they form circle around man
who stands with handkerchief in his
hand. AS soon as the music commences
they revolve around this man in a
shuffling dance something like Old Dan
Tucker AS they revolve they sing:
Round the chinquapin we go;
De ole black crow
SEE de wind ull blow
An de chinquapin ull fall.
In the meantime the man in the middle
of the circle, or rather the chinquapin,
is not asleep by any means. He not only
keeps dancing in time to the music, but
he watches his chance to envelop the
head of damsel in the folds of his hand
kerchief. This would be an easy task if
she stood still, but when every possible
obstacle is presented by the maiden, her
partner, and the rest of the company, it
requires considerable quickness and dex-
terity. If her head is not completely en-
veloped the chinquapin has made
failure and returns to his position. The
TtWd VI SuCCcSS IS Vic pIlNllCSt vi
kissing the captured girl, an example
which is Immediately followed by the
others, and a great romp ensues. The
unfortunate man who has permitted his
partner to be caught is in disgrace. No
one will let him take kiss, and he is re-
manded to the middle of a new circle and
becomes chinquapin until he obliter-
ates the Odium attached to him by deX-
trously capturing some one else's part
ner.
But all things have an end and it is
past midnight. Some visitors had come
from neighboring plantations and they
are preparing to go. Before, however,
the exodus takes place, Little Sammy,
who has been exasperated by remark of
old Uncle Billy, that he, Uncle Billy,
could once dance better on one leg than
any of the company present could on two,
sings a solo, alike ridiculing Uncle Billy
and expressing admiration for the young
female element of the company.
Oh, what is ole men made out ov?
Rumps and chumps
An ole hlck'ry stumps,
OATS what ole men is made out ov.
Oh, what is young gals made out ov?
Rice and spice
An ebry ting nice,
OATS what young gals is made out ov.
Down through the snowy meadows
troop the visitors One of them has a
banjo, and as he goes he sings in sweet
mellow voice, accompanying himself on
the instrument
Use goin' away
At break of day
Away down in Ca'lina;
But far or near,
| would not keer,
Eff l could take my Dinah.
Farewell, visitors, farewell. faithful old
negroes, farewell, familiar quarter. When
ever in the evening l lose sight of the
present, often dark hued with vexations
and worries, then l see in the halo of
joyous memories the old plantation and
its inhabitants. | listen to the songs,
the stories, the mellow laughter, and the
music of Uncle Jacks fiddle. doubt
whether Christmas makes any people
happier than it did the old plantation
negroes when they danced the chinquapin
JAS. G. PLUMMER.
DIFFICULT REPORTING.